IronFilm

C300mk1: Top heavy instead of being long like the F3 Somewhat better internal 8bit codec, but no 10bit 444 external Priced much higher (as in two or three times more) than an F3 No way whatsoever to do 60fps slow motion like the F3 (even if only external) Optional single center point DPF for the C300 No ability to change lens mount, not like the FZ base mount on the F3 I dunno, when you compare the pros/cons of the F3 vs C300mk1 it doesn't seem worth it to me personally. I think it took a lot of work to understand and overcome the "modern Sony look" in the FS700 / FS7 / etc, and that didn't happen until long after the FS700 had fallen out of favor (as for a while the FS700 was extremely popular, not quite as much so as the C300mk1, but very popular none the less as the king of "low budget slow motion"). I've seen beautiful work from the FS700 4K raw, and I won't deny the slow motion of the FS700 tempts me. Thus why I'd get a FS700 if it was only a couple of hundred bucks more than a F3, especially if Atomos got us a "Samurai V" to pair with it. Yes, having a big / small combo of cameras to pick and choose which is the right fit for a project is a good idea. Although I think a combo such as EVA1/GH5 or UMP/BMPCC4K etc might make more sense if you'll be using them A/B Cam alongside each other a lot. This is why Fuji really needs to bring out a Cinema Body of their X-T4, to complement their mirrrorless line up. Stick NDs in it, add TC I/O, both a full size HDMI and SDI outputs, XLR inputs, and they're more than half way there.

Depends on your perspective, from the perspective of when the F3 came out the recording options now are dirt dirt DIRT CHEAP! And if you apply your same detective skills (that got you a F3 for $500) to buying a recorder, you can surely find one for $250ish I reckon. (I've got mine cheaper! And that was ages ago, surely the depreciation since then has only made the task easier) SD cards which can handle ProRes are dirt cheap, and you don't need MASSIVE ones either like you do with raw or 4K. Simply a couple of 64gigs cards is plenty to get you started with.

It is not a bad thing to keep the clients happy! 😉 In fact some could say it is the #1 most important thing of all? At every stage, while pitching, during pre production, during the shoot itself, while editing, and so on and so forth, you should be asking yourself "what does the client want, what will make them happiest?" Plus a Sony PMW-F3 brings tangible benefits beyond "looking impressive": SDI outputs TC I/O NDs Solid/flexible mount Nice colors Excellent low light Everything in Andrew's article is 8bit internal. Although that can look nice too! Such as "Safety Not Guaranteed", all 8bit internal: Don't mess with it. It is another failure point to go wrong. Plus who knows how the conversion process might strip away the goodness of the files, you might be left with only an 8bit output?? Who knows, who knows. As I said before, 1080 SDI recorders are cheap now, get that! Which FB group, a local one?

I fully agree, for all of us who are working professionals means we need to think about the business perspective of any purchase. When I buy a Panasonic G85 later this year it will be purely a hobby expenditure, just like buying a set of golf clubs would be, thus the price / benefit / ROI doesn't matter. So long as I like and enjoy it, plus I can afford it. While if I buy some $5 pouches to protect my "G3 IEMs" which I hand out to the director/scripty/clients/producer/etc then those are clearly a business purchase for me, and I can easily see a positive ROI from them thanks to their low low cost and the protection and professionalism they'll provide my "G3 IEMs". Thus I purchased these instantly when I first read about them yesterday. But if I buy a new Lectrosonics SRC, then maaaaybe I can convince (fool?) myself there is a positive ROI somewhere in the loooong term from owning a fourth Lectrosonics SR While if I was to buy an Aaton Cantar X3 recorder full kit (with Cantaress / Hydra / etc) then I know my ROI is going to negative on that! That isn't a smart business decision. I'd lose less money buying that set of golf clubs instead. Now to bring it back to the wedding business, and to stop talking about the sound department, did you get any more clients due to filming with a X-T3 instead of an X-H1? Did any of those clients you did get, did they pay you more because you had a X-T3? Did the X-T3 save you time? (remember, time = money) I'm going to take a wild guess and say the answer to all those question is a no. In fact, just maaaaybe the X-H1 is a superior camera for weddings than a X-T3? As due to the huge amount of footage taken, often 8bit is preferred over 10bit (thus the X-T3's big advantage is negated), and due to the nimble handheld nature of shooting weddings the IBIS exclusive to the X-H1 shines through as a big strength of the X-H1. Perhaps you could have gone all of 2019 without buying any cameras at all?? Or maybe only a very small purchase. For instance, hypothetically speaking if you just had only 2x X-H1 but already have a spare Ninja V lying around then there could be a good positive ROI from getting the cheap X-T200 (or X-T30) when they were announced. As the Ninja V unlocks unlimited record times, and a third camera would add a real tangible benefit at a low low cost as a locked off wide to save you in the edit when both the A & B cam gets compromised during a wedding (sometimes just due to bad luck, someone walks across one camera, and from the other camera angle the bride is looking ugly in that moment). Or just simply to improve the edit! To spice it up by cutting to another angle now and then.

I thought the later models fixed that? Remember we've got four main types under the "URSA" banner: OG URSA (the BIG BOY!) OG URSA Mini 4K (which had similar, or a little teeny bit better quality, than the BMPC4K) OG URSA Mini 4.6K (the first with the new 4.6K sensor) URSA Mini Pro G1 URSA Mini Pro G2 Agreed, or the GH5S sensor in an EVA with a MFT sensor! Agreed. don't mess with HDMI (unless just throwing on an extra monitor onto the rig, then perhaps maybe). Get yourself a SDI recorder, 1080 SDI recorders are cheap cheap now. ditto, mine never worked because it was REMOVED! The original previous owner removed it, as he never used it, and he didn't like it getting in the way.

I think it was totally worth that money back then if you were a professional working at that level. Remember the context of back then, you basically had two major options a crappy Canon 5Dmk2 or similar or a quarter million dollar Sony F35! Plus of course a few other options as well outside 1080 filming, such as dealing with the erratic troublesome RED ONE or shooting expensive S35 (or lower quality S16) film! Thus at the time the F3 seemed like a very good idea if that is what you needed!! (although if you had a crystal ball, you might have held off and got a C300mk1 instead in the future. Or perhaps a FS700 a little later) Who

Eh, that sounds too tame. One of my best mates was nearly killed a little while back by a falling S60. Has the nasty head scar still from it.

a) you get best quality by recording externally b) SD to SXS adapters cost next to nothing

Oh wow! I've been hanging out on eBay for a while waiting for a deal that good. As I see them very rarely around ish that price, but I keep on missing out. And honestly any more than $500 and I think just getting a FS700 instead starts to become more sensible? But what are you going to do now you have both the URSA Mini and a PMW-F3? Selling the URSA Mini? 😉 Any Atomos product with the word "Ninja" in it is HDMI only. The F3 doesn't output 10bit over HDMI I believe

Only SOMETIMES? 😉 Whoops! I mean "disaster" of course. Although it can be a recipe which leaves a distaste as well if it all goes pear shaped! There are some rare exceptions when it might make sense, to borrow or lease. Perhaps when you've signed a contract for a steady flow of work coming in, and everything is already inked and signed in blood. Perhaps you'll feel it is worth the risk to prematurely jump ahead before the invoices are even paid? Still is a risk. Plus there could sometimes be tax benefits around leasing vs owning outright. But you shouldn't be asking a bunch of internet accountants (nearly as bad as internet lawyers!) for advice on this point. And if you're not making a full time income from this line of work, then don't do it. Get at least a basic level of money coming in the door first! Walk before you run.

Personally I'd in general strongly recommend NOT getting deep into debt to get into the film industry! Recipe for distaste if not very very careful. But to answer your question, it depends a LOT on where you live, what your credit score is, how many assets you have, if it is a secured or unsecured loan, what your income is, how much you are borrowing, what you're borrowing it for, etc etc etc

I'd rate an IR cut filter as more important than a moire one.

Yeah, if only John was still a regular on these forums....

I still believe Fuji has too many different lines of cameras to support in a declining market (plus a recession will hit soon, making it even harder to support too many lines of cameras), thus they need to kill off at least one camera line. The X-H series is the most likely one on the chopping block. (just wish the X-T series had a top LCD!)

One of the reasons ARRI is so good, it holds onto good colors even as you move up the ISO range

Yes, fingers crossed that Panasonic brings this attitude to all their new cameras, even their lowly GXxxx series of cameras!

Worthy quotable segments: Good to hear that the S1H sales are exceeding their expectations! (I wonder if the $99/week rental of the S1H was a signal of slow sales, I guess not!) Also was surprised that up to nearly a THIRD of S1 buyers are also getting the paid firmware upgrade! Interesting comments at the end about the hypothetical possibility of Ricoh/Pentax joining the L Mount system.

Well well well, the E M1 mk3 isn't the filmmaking flop we were thinking!! Sure, it isn't internal, but this is still a first for Olympus! Good job, inching forward after all.

Perhaps in four years time I should buy up cheap a stock of Canon EOS-1D Mark IV cameras and be ready to sell them at a huge profit! haha At least the Canon EOS-1D Mark IV has a movie record option... of sorts!

NAB is still two months away, and then it might be what, up to four months (or even MORE!) until products shown at NAB are widely available in stock? So you might be waiting for a product, that may or may not exist, and if it does exist, could perhaps is half a year away?? At what point do you say enough is enough, and pull the trigger and buy? If a Kinefinity is what you want, and it seems like a good deal to you, then buy! If not, then don't. As simple as that.

FHD up to.... 24P!! WHAT. THE. FVXK. Please tell me that is a typo, otherwise what kind of sick joke is this? Edit: "Full specs on Canon's site says 24 fps for 4k, and 60 fps for 1080p." That's somewhat less bonkers. But still, surely you'd just rather buy a Panasonic G9 instead for roughly the same price?

Put a Tentacle on the GH3 for even more accurate and faster syncing via timecode. I saw a couple of the latest Tentacle Sync E for sale up on Facebook for only US$200 each.

Gee, you just reminded me how super old I am with my couple of GH1 cameras! Thanks.

They'll likely update the DVX200 at some point??? Maybe. But at a much higher price of course than a FZ500

If you're an indie filmmaker, then I highly highly recommend checking out HitFilm Pro! https://www.facebook.com/groups/426174967509293/ https://fxhome.com/hitfilm-pro